Design For The People For Everything and Everyone
Foreward Design is Liveable Dieter Rams 8 Charles and Ray Eames 12 Herman Miller 13
Design is Visual Robert Brownjohn 16 Saull Bass 20 Eryk Lipinski 21
Design is Loud Alex Steinweiss 24 William Claxton 28 Reid Miles 29
Design is Conceptual Lester Beall 32 Ladislav Sutnar 36 Adrian Frutiger 40 Bradbury Thompson 41 Erik Nitsche 42 Paul Rand 43
Authors Bibliography 3
Design is For The People
Mid-Century Modern design developed from
appeal more to the clientele it was designed
one main ideal: philosophy of design comes
for. This philosophy of creating good design
before the aes thetic. Movements before
the common man would appreciate and
Mid-Century Modernism, such as Bauhaus
understand translated not only into design
and Swiss design, focused mainly on visual
but all parts of life during the 1940s to mid
aspects of design. To them, design should be
1960s. Areas such as home goods, furniture,
informative, direct, and substantial. Posters
film, television, and music, all had links
and advertising should contain the basic
between design and actual application.
principles of design, utilize grids and basic
Furniture design became comfortable, while
shapes to convey meaning. Mid-Century
still having a stylish appearance. Film and
Modernists took these basic principles of
television started employing new technologies.
simplistic design, and used them to create
Even the design of music record sleeves reflected
humanized ideals. By using a grid system and
this sense of organic familiarity within the
simple color palettes, alongside pop culture
gridded design. Mid-Century Modern was
imagery and organic shapes, design began to
more than a movement, it became a way of life.
Foreward
5
Design is Liveable Dieter Rams Charles and Ray Eames Herman Miller
Dieter Rams
Main Man
Dieter Rams was born May 20, 1932 in
environment through precision and order.
1 Good design is innovative.
Wiesbaden, Germany. In his career he was a
Back in the early 1980s, Dieter Rams was
2 Good design makes a product useful.
graphic and industrial designer and trained
becoming increasingly concerned by the state
3 Good design is aesthetic.
and worked as an architect for a few years
of the world around him – “an impenetrable
4 Good design helps us to understand a
u nt i l he joi ne d t he ele c t r on ic dev ic e s
confusion of forms, colours and noises.”
product.
manufacturer Braun. Within a few years
Aware that he was a significant contributor
5 Good design is unobtrusive.
he became their chief of design, a position
to that world, he asked himself an important
6 Good design is honest.
he held for almost thirty-five years. He is
ques tion: is my design good design?
7 Good design is durable.
also credited with the memorable phrase
As good design cannot be measured in a
8 Good design is consequent to the last detail.
“Weniger, aber besser” which translates into
finite way he set about expressing the ten
9 Good design is concerned with the
“Less, but better”. Dieter Rams used graphic
mos t i mpor ta nt pr i nciples for what he
environment.
design, form, proportion, and materiality to
considered was good design. Sometimes
10 Good design is as little design as possible.
create order within his designs. His work does
they are referred as the ‘Ten commandments’.
not try to be the center of attention, rather he a l l o w s h i s w o rk t o b e c o m e p a r t o f t h e
Design is Liveable
9
Audio 1 Kompaktanlage 1962, by Dieter Rams
Braun Sixtant SM2, 1963, by Dieter Rams TP 1 Radio/Phono Combination, 1959, by Dieter Rams The Braun BN0076, 2011, by Dieter Rams
Design is Liveable
RT 20 tischsuper radio, 1961, by Dieter Rams The ABR 21 signal radio, 1960, by Dieter Rams
Braun SK 61 Stereo, 1953, by Dieter Rams 606 Universal Shelving System, 1957, by Dieter Rams 620 Chair Programme, 1962 by Dieter Rams
11
Lounge Chair and Ottoman ,1965, by Herman Miller & the Eames Brothers
Vitra, 1950, by Charles Eames Plywood Elephant Chair, 1945, by the Eames Brothers
Eames ‘Mini’ Chair for Children, 1945, by the Eames Brothers
Charles and Ray Eames Charles Eames and Ray Eames gave shape to
In a rare era of shared objectives, the Eameses
America’s twentieth century. Their lives and
partnered with the federal government and the
work represented the nation’s defining social
country’s top businesses to lead the charge to
movements: the West Coast’s coming-of-age,
modernize postwar America.
the economy ’s sh i f t from ma k i ng goods to the producing information, and the global expansion of American culture. The Eameses embraced the era’s v isiona r y concept of modern design as an agent of social change, elevating it to a national agenda. Their evolution from f u r n itu re designers to cultural ambassadors demonstrated their boundless talents and the overlap of their i nteres ts w ith those of thei r cou ntr y.
Design is Liveable
Nelson Basic Cabinates, 1945, by Herman Miller
Lounge Chair and Ottoman ,1965, by Herman Miller & the Eames Brothers Nelson Coconut Chair, 1955, by Herman Miller
Herman Miller Herman Milleris most famous for the way he
reproduction pieces. This was discontinued
is ever lasting. Something that solves all
revoultionized the furniture business. For him
after it was brought to their attention that
furnature problems and cannot be redesigned to
the business has been about much more than
imitating these peices was “insincere
be better. A design cannot be kept if
the numbers and elements that traditonally
aethetically”. This just shows just how
something else comes out to solve the
come to mind when business is thought of.
design centered Herman Miller is. Instead
problem more effectively.
The focus of his furniture company is always
of keeping the line because it was making
the design. To them it is as important as
money or the people liked it so much, he got
sales of production. The artist is never
rid of it so that all his work would be honest
made to create something that will sell,
Through the honest work of Herman Miller’s
but just to create a solution of a furniture
furntiure company, he has come to find out that
problem. If the designer and and manager
there is a real market for well designed
like the solution then it is put into prouction
furniture. Many times the public will even be
with no reguards for pre-testing or consumer
ahead of manufactures in funiture style.
research. At one point in the companies
The goal of Herman Miller’s company is to
history they were producing period
eventually create a design for furniture that
13
Design is Visual Robert Brownjohn Saul Bass Eryk Lipinski
Robert Brownjohn
Main Man
Brownjohn was born to British parents in
his early career in the US with his most
that he produced.At one point Brownjohn was
New Jersey and had a successful career in
notable contributions coming in the film
addicted to heroin, which he had first taken
both America and Great Britain during the
industry. He also worked within several other
in col lege. It caused the brea kdow n of h is
1950s a nd 60s. He i m med iately showed
industries, creating moving graphics for
relationship with Chermayeff and Geismar
promise as a young design student at the
Pirelli and Midland bank and created the
a nd i n f luenced his move to London.
Institute of Design in Chicago, previously
cover for the Rolling Stones album Let It Bleed.
Brownjohn is perhaps most famous for his
The New Bauhaus, where he studied closely
A 240 page catalogue by Emily King that was
work on the title sequences for the f i l ms
with Laszlo Moholy-Nagy.
produced for an exhibition detailing Brownjohn’s
G old f i n ger a nd F r om Ru s s i a w it h L ove.
His career ramped up to an early start when
career entitled “Robert Brownjohn: Sex a nd
he formed the design firm BCG with Ivan
Typography ” held at the Design Museum in
Chermayeff and Thomas Geismar. However,
London was also published as a book of the
that career came to an early end in 1959 with
same name. Sex and Typography details the
Brow njoh n head i ng toLondon, the f i r m
adventures of Brownjohn through deta i led
beca me Cher mayeff a nd Geisma r.
information provided by friends and family as
His career in London proved as successful as
well as chronicling his career and the work
Design is Visual
17
James Bond Goldfinger title sequence, 1964, Robert Brownjohn, London More Information
Design is Visual
James Bond From Russia with Love Title Sequence, Robert Brownjohn, 1963 More Information
19
Anatomy of a Murder Title Sequence, 1959, Saul Bass
Poster for The Man With the Golden Arm, 1955, Saul Bass, Directed by Otto Preminger
Psycho Title Sequence, 1962, Saul Bass
Saul Bass Saul Bass was an American designer whose
metaphor or story that intrigued the viewer.
40+ year career spanned everything from
Often times it was a synopsis or reference to
print and identity development to movie title
the movie itself. His list of title credits
credits. He worked with major corporations to
include famous films such as West Side Story,
establish logos and branding guidelines,
Psycho,Goodfellas, Big,North by Northwest
including AT&T, United Way and Continental
and Spartacus. He created four titles for
Airlines. He designed titles for over 30 films
Martin Scorsese, the last of which was for Casino.
and he won an academy award for his short
The Man with the Golden Arm was one of four
film Why Man Creates. Also proficient in
movies that Saul Bass worked on under the
typography his “cut-paper� style is one of the
direction of Otto Preminger. Saul worked with
most recognized styles of design from the
some of the biggest names in the film business
1950s and 60s.
including Alfred Hitchcock, Stanley Kubrick
He revolutionized the way that people viewed
and Martin Scorsese.
movie titles by using the time to not just display the information but give a short visual
Design is Visual
Ashes And Diamonds - Help – Eryk Lipinski, 1965 Wojciech
“SKARB”, 1949, Eryk Lipinski
Poster for Day of the Jackal, Eryk Lipinski, 1973
Fangor, 1979.
Eryk Lipinski Caricaturist, satirist, graphic designer, poster designer, book illustrator, columnist, author of several books on the history of caricature, satirical art collector and a founder of the Museum of Caricature and Cartoon Art in Warsaw. Eryk Lipinski was born on 12 of July 1908 in Cracow, Poland. In 1928, his caricatur was published in magazine Pobudka. In 1933, he studied at the Warsaw Academy of Arts for 6 years. During his study he confounded with Zbigniew Mitzer and became a chief editor a s a t i r ic a l new s p ap er S z pi l k i i n 1 9 3 5 . After the war he continued working from 1946-1953. He also contributed to many newspapers and magazines.
21
Design is Loud Alex Steinweiss William Claxton Reid Miles
Alex Steinweiss
Main Man
Alex Steinweiss, art director for Columbia
reflect the music it contained and to improve
During WWII Steinweiss took a job with the
Records during the 1940s, revolutionized the
sales. He went on to design upward of 850
U.S. Navy designing cautionary posters and
way records were packaged and marketed.
album covers. His first cover was for a 1939
displays. He continued to work for Columbia
His genre-defining work in the visual
collection of songs by Rodgers and Hart. A
Records by night, and after the war, as a consultant.
expression of music transformed both the
theate--r marquee with the composers’ names
design and the music industries. At this
spelled out in lights pivots on the central red
time, 78-r.p.m. shellac-coated records were
axis of the encased record. His references were
packaged as sets of three or four records in
the French and German posters he had seen
sepa rate sleeves bou nd between pla i n
in Friend’s class, but in the covers that he went
pasteboard covers. They were stamped only
on to design he developed a unique signature
with the title of the work and the name of
style that used geometric patterns, folk art
the recording artist and display on shelves
symbolism, and a curly hand-drawn lettering
with just the spines showing. Steinweiss
(that became copyrighted as Steinweiss Scrawl).
recognized an opportunity to use the packaging in more creative ways to
Design is Loud
25
Album cover for Louis Armstrong and Earl Hines, 1940, Alex
Rodgers & Hart - The Imperial Orchestra Under Richard Rodgers,
Album Cover for Cole Porter, 1948, Alex Steinweiss
Steinweiss
1939, Alex Steinweiss
Album Cover for Moody Woody, 1959, Alex Steinweiss
Eugene Ormandy – Respighi: The Pines of Rome 1946, Alex
Rodgers & Hammerstein – South Pacific with Original Broadway
Steinweiss
Cast, 1949, Alex Steinweiss
Album cover for Bartok-Martin, 1950, Alex Steinweiss
Design is Loud
Songs of Rachmaninoff, 1946, Alex Steinweiss
Album Cover for Rhapsody in Blue, Alex Steinweiss
Album Cover for Basil Rathbone, Alex Steinweiss
Album Cover for Bing Crosby, Alex Steinweiss
Album Cover for Benson Brooks Trio, Alex Steinweiss
Album Cover for La Conga, Alex Steinweiss
Album Cover for Shostakovitch, Alex Steinweiss
Album Cover for Emperor Rudolf Sernin with Bruno Walter, Alex
Album Cover for Columbia Masterpieces, Alex Steinweiss
Steinweiss
27
Chet Baker, 1954, William Claxton
Yourna Byrd, 1960, William Claxton
Chet and Carol Baker, 1988, William Claxton Curtis Counce, 1958, William Claxton
William Claxton William Claxton is highly regarded for his
Photography was Claxton’s main love, and
album designs and his photographs of the
his early works were dominated by black and
1950s jazz scene. In 1952 in Los Angeles, he
white photography. Later, Claxton moved on
met Richard Bock. Bock wanted to start a new
to use color photography. He is known for his
record company called Pacific Jazz, and
icon ic i mager y of the you ng Chet Ba ker.
recruited Claxton as a partner and the new
Claxton was responsible for giving the visual
company’s art director and photographer.
identity to the West Coast jazz scene. His album
He designed numerous album covers for the
covers emphasized the informal, outdoor
label over the next six years. He also worked
enjoyment of the California life. Claxton’s
for many of the other companies in the Los
photographs are published in many books
Angeles are, notably Contemporary Records,
through the years, beginning in 1955 with
and for New York labels such as Riverside
the classic portfolio “Jazz West Coast”,
and Atlantic Records.
produced by Richard Bock of Pacific Jazz.
Design is Loud
Art Blakey and The Jazz Messenger, 1958, Reid Miles,
Off to the Races, 1958, Reid Miles,
Finger Poppin´, 1958, Reid Miles
The Scene Changes, 1958, Reid Miles
New Soil , 1959, Reid Miles
Blakey at the Jazz Corner of the World, 1959, Reid Miles
Reid Miles Reid Miles started out desinging under the
not like to listen to jazz music. He would often
creative direction of John Hermansader. They
ti mes trade h is ja zz music for classica l.
worke d s o wel l t oget her b e c au s e wh a t
This is amazing as a designer because he put all
Hermansader lacked in spark for his work
of his personal preferences aside and designed
Miles made up with his vision. While MIiles
for his clients. He made his work the way he
had all the intentions of staying with what
knew they wanted it and what they wanted it
Herman started but endedu up surpassing
to imbody wth no regaurds for what he may
him and making many of his own wonderful
h av e s e e n a s h i s o w n t a s t e o r s t y l e .
album covers. Miles made his jazz covers so
His eye for typography and color really show
that even if you had never heeard jazz music
in his work. He does not use overly decorated
before you could tell what it sounded like and
compsitions to get the buyers attention. Miles
what feeling it brought just by looking at his
just let the simple, good design do all the talking
work. He really captured the spirit of jazz and
for the music it was representing.
made it visual. This was his greatest achievement. It is even more impressive because Miles did
29
Design is Conceptual Lester Beall Ladislav Sutnar Adrian Frutiger Bradbury Thompson Erik Nitsche Paul Rand
Lester Beall Main Man A man with a very technology-oriented
brought not on ly hope for moder n
United States and abroad. Throughout his
background, Beall grew up playing with
conven iences to r u ra l fa r m ow ners but
ca reer he used bold pr i ma r y colors a nd
Ham radios and creating his own wireless
also hope for improving their farm work by
illustrative arrows and lines in a graphic style
sets. He graduated with a Ph.D in the History
making machines possible with electricity.
that became easily recognizable as his own.
of Fine Art and the years following his
This would extend economic competitiveness
He eventually moved to rural New York and
graduation found him expressing an interest
to farms across America. In turn this would
set up an office, and home, at a premises that
in modern art movements such as Surrealism,
even bring hope to all of America as these
he and his family called “Dumbarton Farm�.
Constructivism and Dadaism. His work as an
posters made of simple shapes shared a
He remained at the farm until his death.
advertiser and graphic designer quickly
message of a new standard of living and
gained international recognition and the
economic situation. When these works made
most productive years of his career, during
everyone feel as though they could afford to
the 1930s and 40s, saw many successes in
have radio, electricity and running water, so
both fields. Perhaps his most famous work is
much more began to seem like it could be
that done for the REA (Rural Electrification
possible. His clea r a nd concise use of
Administration). With these posters Beall
typography was highly praised both in the
Design is Conceptual
33
Radio / Rural Electrification Administration, 1937, Lester Beall
Wash Day / Rural Electrification Administration, 1937, Lester Beall
Heat-Cold / Rural Electrification Administration, 1937, Lester Beall
Farm Work/ Rural Electification Administration, 1937, Lester Beall
Running Water / Rural Electrification Administration, 1937
Light / Rural Electrification Administration, 1937, Lester Beall
Design is Conceptual
Power on the Farm, Rural Electrification Administration, 1941,
Rural Electrification Administration. 1941, Lester Beall, Lithograph
Lester Beall Power for Defense, Rural Electrification Administration, 1941, Lester Beall
35
Ladislav Sutnar
Main Man
Ladislav Sutnar was a progenitor of the
navigational devices that allowed users
direct. Perhaps the most significant of
current practice of information graphics.
to efficiently traverse seas of data. His icons are
Sutnar’s innovations was the use of spreads.
Sutnar developed graphic systems that
analogous to the friendly computer symbols
He was one of the first designers to design
cla r i f ied vas t a mou nts of complex
used today. Sutnar’s difficulties with spoken
double spreads rather than single pages. A
i n for mation, tra nsfor m i ng busi ness
English as a second language has do much to
casual perusal of Sutnar’s designs from 1941, with
data i nto d iges tible u n its. In add ition
explain why his design was sostraightforward.
the logical exception of covers, reveals a
to gr id a nd tab s ys tems, Sutna r made
Indeed, information of the kind presented
preponderance of spreads, on which his
common punctuation, such as commas,
i n t he S we et ’s c a t a logs, wh ic h i nc lude d
signature navigational devices force the
colons and exclamation points, into linguistic
ever y t h i n g f r om plu m bi n g s uppl ie s t o
viewer to go from one level of information to the
traffic signs by enlarging and repeating them.
hydroelectric generators, were the equivalent of
next. Through spreads, Sutnar was able to
As the art director, from 1941 to 1960, of F.W.
second or even third languages to many of its
material without impinging upon accessibility.
Dodge’s Sweet’s Catalog Service, America’s
users. So if verbal or written language could not
leading distributor and producer of trade and
efficiently communicate or mediate information
manufacturing catalogues, Sutnar developed
in the age of mass production, then, Sutnar
v a r io u s t y p og r aph ic a nd ic onog r aph ic
reasoned, visual language needed to be more
Design is Conceptual
37
Walrus, 1930, Ladislav Sutnar. Design and paper: Color for Articulation, 1944, Ladislav Sutnar.
Design is Conceptual
Elephant, 1930, Ladislav Sutnar.
Lion, 1930, Ladislav Sutnar.
Rhino, 1930, Ladislav Sutnar.
Design and Paper, 1943, Ladislav Sutnar.
Catalogue Design Progress, 1943, K. Lonberg-Holm and Ladislav Sutnar.
Promoction Kits: Build the Town poster,
Promoction Kits: Build the Town block set, 1943, Ladislav Sutnar.
Design and Paper: Visual Dominance, 1943 , Ladislav Sutnar.
1943, Ladislav Sutnar.
39
Forms and Counter Forms: Intimacy, 1999.
Univers Typefamily, 1956. Adrian Fruitger
Adrian Fruitger Forms and Counter Forms, 1999. Adrian Fruitger
Adrian Fruitger Adrian Frutiger has created some of the most
hot metal, photographic and digital typesetting.
used typefaces of the 20th and 21st century.
He has also been instrumental in refining his
Athough interested in many fields including
own typefaces to include more weights and
woodcut and paper sillhouettes, Frutiger has
true italics, some eamples are Frutiger
been passionate about typography for his
Next and Avenir Next.
enti re l i fe. Spend i ng mos t of h is ca reer working for Deberny & Peignot updating typefaces and preparing them for phototypesetting, as well as designing typefaces of his own accord, he has created almost 30 typefaces. Some of his most famous typefaces include Univers, Frutiger (created for the Charles de Gaulle airport), Egyptienne, Serifa and Avenir. Frutiger is one of only a few typographers whose career spans across
Design is Conceptual
Spread from Westvaco Inspirations #210, 1958, Bradbury Thompson
Bradbury Thompson Bradbury Thompson was truly a master of
development in Bible typography since
almost every aspect of the design profession.
Gutenberg first published his masterpiece in
He studied printing production, was an art
1455. Another significant point in his career,
director for Mademoiselle magazine, designed
in the field of typography, was his publication of
books, pushed the boundaries of conventional
Alphabet, which was labeled as a monoalphabet.
typography and taught design at Yale University.
It contained only 26 unique characters, case
He designed 60+ issues of Westvaco Inspirations
was established by size only instead of entirely
for the Westvaco Paper Corporation. His designs
new characters. Thompson’s work garnered
reached thousands of designers, printers and
him the highest award of every major design
typographers. Born in 1911 in Topeka, Kansas
organization including AIGA, the Art Directors
and educated at Washburn University Thompson
Club and the Type Directors Club. He died in 1995.
stayed in touch with the university throughout his career. From 1969-1979 Thompson worked together with Washburn to create the Washburn Bible. The book was the most significant
41
General Dynamics, 1960, Erik Nitsche
General Dynamics, 1958, Erik Nitsche
Erik Nitsche Erik Nitsche left an unmistakable mark on
had the opportunity to attend the Bauhaus
the world of design i n h is approx i mately
L a s z lo Moholy-Na g y h a s b e en quot e d a s
60 yea r ca reer. Leav i ng a l mos t no f ield
say i ng, “ W ho is th is g uy that is doi ng the
untouched, he worked as an art director,
Bauhaus in New York?�
book designer, illustrator, typographer, graphic designer, photographer, advertiser, a nd p a c k a g i n g de s i g ner. H i s g r aph ic design work included magazine covers, signage, film, exhibitions, posters and many other advertising mediums. Before imigrating to the United States in 1934 Nitsche studied at the Collège Classique in Switzerland and the Kunstgewerbeschule i n Mu n i c h . H i s w o rk h a s a d i s t i n c t l y modernist aesthetic and although he never
Design is Conceptual
Art Direction magazine cover, 1939, Paul Rand
Olivetti poster, 1953, Paul Rand
Department store ad, 1947, Paul Rand
Paul Rand Laszlo Moholy-Nagy, describing Rand: “He is a
His early career was spent working for Apparel
painter, lecturer, industrial designer, [and]
Arts and Esquire magazines and then joining
advertising artist who draws his knowledge
the Weintraub agency. He was so successful
and creativeness from the resources of this
that after a few years he demanded twice the
country. He is an idealist and a realist, using
pay for half the time, and got it. His relentless
the language of the poet and business man. He
passion for corporate identity helped shape the
thinks in terms of need and function. He is
American business landscape in the 1960s.
able to analyze his problems but his fantasy is
The height of corporate identity design owed
b o u nd le s s .� Pau l R a nd i s one of t he mo s t
much to the unwavering pursuit of Paul Rand
famous and recognized American designers of
to make advertising more than just billboards.
the 20th Century. His ideas, philosophies and
He worked in the field until the day that he
approach continue to be a large part of the
d ie d, a t t he a ge of 8 2 .
fundamentals of design taught in education programs across the world.
43
Authors
Norma Zupko
Bekah Marbert
Alyssa Crozier
Research & Images & Layout - Charles and Ray
Research & Images & Layout - Alex Steinwiess,
Research & Images & Layout - Robert
Eames, Adrian Frutiger, Ladislav Sutnar
Lester Beall, Herman Miller, Reid Miller
Brownjohn, Saul Bass, Paul Rand
Proof Reading
Multimedia Facilitator
Forward Copy & Design
Page Numbers
Ediotr
Cover Design
Preflight Hyperlinks
Authors
Bibliography Proof Reading
Emmy Dorchak
Lauren Roberts
Project Manager
Research & Images - Bradbury Thompson,
Research & Images - Dieter Rams, Eryk Lipinski,
William Claxton, Alex Steinweiss
Erik Nitsche
Way Finding- Chapter headings & Unity
Typesetting
Table of Contents
Credits/Authors Page
Cover Design
Layout design
Proofing Hierarchy
Hierarchy Design
Book Assembler
45
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